INTRODUCTION
I am keen on learning English and I have always looked for different and new
ways of how to approach not only language understanding but also the knowledge about
English speaking countries. I am also interested in many cultural events such as theatre,
concerts or dancing. I was looking for something that would connect all these things and
I found it in a musical theatre. I have always been curious about what it is like to be an
actor, to prepare for a show, to stand on the stage and how the actors feel when they
hear the applause. I have never had a chance to live this through but on the suggestion
of my supervisor I decided to pursue this topic and to deal with the musical called
Chicago and Bob Fosse, its co director and choreographer.
There are many versions of this musical that were performed all over the world
during the second half of the twentieth century. Maurine Dallas Watkins created the play in the 1920s and it was remade as the musical only in the 1960s, when the
copyright was sold to Bob Fosse. Finally, in 2002, Chicago was filmed with the actors
such as Renée Zellwerger, Richard Gere and Catherine Zeta Jones appearing in the
leading roles.
The first part of the thesis deals with the basic introduction of the American
musical and with some terms that are closely related to Bob Fosse’s work and are
necessary to be understood in the context of the thesis.
The second section introduces Bob Fosse and his status in American musical
theatre. However, in this part I also mention two other men – John Kander and Fred Ebb
who were very important for the musical theatre in the time when Fosse created his best works.
3 The complex view of the musical Chicago based on the Czech translation of the
libretto, translated by Ivo Havlů in 1978, is provided in the third part. Owing to the
unavailability of the original libretto, I use English translations of citations in the text
and the Czech version I put into footnotes. If words in the film script corresponded with
words in the libretto, then I used them for translation. The other citations were translated by the author.
The list of books and the links to the websites, which I used for my bachelor
thesis, are included in the biography section. I also mentioned the film version of
Chicago there.
The appendix covers short overviews of the most famous works by Bob Fosse. It
is an attempt at consisted presentation and evaluation of Bob Fosse´s work. The
appendix also offers summary of Tony Awards that Chicago and Bob Fosse received.
4 1. SHORT INTRODUCTION TO THE MUSICAL IN
GENERAL
The musical theatre is a type of theatre which combines music, dancing, songs and spoken dialogues. Emotions such as love, hate or anger, humour and the story itself are mediated to the public through words, songs, movements, and music as a whole.
Costumes, lightening, backdrop and make ups are the other essential parts of a show.
(http://en.wikipedia.org)
Irving Berlin, George Gershwin, Richard Rodgers, Cole Porter, Jerome Kern,
Jerry Herman, Leonard Bernstein, John Kander, Andrew Lloyd Webber are some of the main representatives of the musical. Leonard Bernstein, a composer, places the musical approximately in the middle of the imaginary ladder of musical genres with vaudeville and revue at the bottom and opera at the top. (Osolsobě 1974)
The musical theatre is a result of merging of many different patterns from another genres such as opera, ballad, variety, revue, jazz and vaudeville. The genre of the musical theatre developed during the whole twentieth century and from a variety of elements and influences. The beginnings of the American musical theatre were under
European influence. Plays imitated their European models. During decades, this genre was maturing; themes were changing and reflecting the mentality of people. It was americanised. (Schmidt Joos, p.21 61)
At the beginning of the twentieth century, there were “minstrels shows” a mixture of dancing, songs and variety show and American vaudeville whose heart was a comic performance. Vaudeville was very popular comic theatrical genre with singing in North America during the 1880s 1930s. However, “The origins of the term vaudeville are unclear. Some sources claim the word was a bastardisation of "voix de
5 ville," French slang for "songs of the town" – others say it came from "vaux de Vire,"
fifteenth century satiric songs written by Olivier Basselin, a native of the Vire valley in
Normandy.” 1
According to Osolsobě, the vaudeville meant usually satirical “song, that
everybody knows” (Osolsobě 1974) in France in the seventeenth and eighteenth
century. Over the time the original sense of vaudeville shifted from “an old song on
which a new text is composed” to “a new song on an old tune”, later, through the means
of theatre to situational comedy that developed from many entertaining styles (e.g.
concert saloon, minstrels). (Osolsobě 1974, p.170 178) At the end of the nineteenth
century, vaudeville lost its original role. It did not include any song but it was still called
vaudeville. In America, Tony Pastor, who wanted to open a variety but with a family
audience, reused the word vaudeville for his show instead of a disreputable word
variety. It was a great success that attracted all possible classes and ages. Pastor also
gave it contemporary meaning – theatre of diversity.
According to Kenrick, other producers also became interested in this type of popular entertainment. American vaudeville was born (used) in 1871 with the formation
of “Sergeant’s Great Vaudeville Company” 2 in Louisville and totally differed form its
French predecessor. American vaudeville performance consisted of a series of unrelated
acts and marked the beginning of favourite pastime as big business. This was connected
with the growth of leisure time, taste and a number of middle class workers, who were
able to organise such a kind of entertainment. Its formation was also influenced by the
improving technologies, transportation, and communication. The aim of the authors was
not only the entertainment but the revelation of the concrete moral offences in society.
1 Kenrick, John. A History of The Musical Vaudeville. The Cyber Encyclopedia of Musical Theatre, TV and Film [online] 2008. 20 January 2008. Available from http://www.musicals101.com/vaude4.htm 2 Vaudeville . Wikipedia.The Free Encyclopedia [online] 2003 2007. [cit. 2008 30 01]. Available
6 The audiences were very closely connected with the show because they were not only the spectators but also active participants itself – their shouts, silences or jeers shaped the acts. (Kenrick) Nazimova and Helen Hayes, Alfred Lunt, Lillie Langtry, J.M.
Barrie, Arthur Conan Doyle, David Belasco, Jack Benny, Sophie Tucker, George Burns,
Marie Dressler, Jack London, George M. Cohan, W.S. Gilbert and many other writers, actors, singer belong among the people who influenced the shape of vaudeville.
(http://www.musicals101.com)
Kenrick also discusses the term burlesque, which is closely connected with the musical theatre and which appears also in Fosse´s work. Burlesque was known already in the ancient times and its features can be found in operettas, operas and musicals. It refers to a variety theatre. Its main intention is to ridicule or belittle through comic or farce stories and sketches that often have only little value. Burlesque is considered to be an artistic piece containing exaggeration, irony, parody and satire. This genre usually shows a variety of acts consisting of dancing girls, comedians, striptease artist, and singers. Minimal costumes, dialogues, dances and plot with sexual background, witty humour, sketches with almost no story linkage among acts are the main features that define burlesque. (http://en.wikipedia.org)
Connecting the aspects of “minstrels shows” and vaudeville, led to development of another type: revue. Revue can be described as a “folding picture book” full of music, dancing, songs, parodies, comic parts, interesting interpreters and stars without a unifying story. Revues and the development of jazz importantly influenced the character of the musical (first called musical comedy) that changed over time. Later, also classical, rock and modern pop music played an important role in connection with the musical theatre. New York Broadway (and its theatres) is the most important place for the progress of the musical theatre. (Schmidt Joos, Osolsobě 1974)
7 In the early years of the musical, songs were its most important part because of
their ability to attract the audiences. Later, a story also achieved importance. Kern
Hammerstein´s Show Boat (1927) (Osolsobě, 1967, p.116), which describes the personal stories of actors wandering in Mississippi and dealing with racial matters, is
considered to be the first and most successful musical of all. As a result, many other
musicals where the songs followed the story were created. As the musical became more
complex, a director (e.g. George Abbott, George Simon Kaufmann) who became
responsible for the whole performance came on the scene. A directed musical contained,
and still contains, a simple plot which actors express not only through dialogues but also
through their dancing, singing and movements. According to Osolsobě, all these aspects
create the best musicals. They usually describe the world as it is and not as it should be.
They also create characters, illuminate their feelings, desires for success and they show
the confrontation of two opposite worlds. Many musicals deal with the topics where
worlds of nobility and servants are put in contrast as well as the played life and the real
life. West Side Story (1957), for example, is based on musical confrontation – American
music versus music of Puerto Ricos and similarly, My Fair Lady (1956) shows the
difference of Higgins’ and Lisa’s worlds: their language, emotions, dreams.
(http://www.musicals101.com)
The time from 1940s till 1960s can be called the golden age of the musical not
only because of gifted choreographers (such as Robbins, Fosse and Balanchine),
directors (Rodgers, Hart), composers (e.g. Bernstein) who worked on every detail of the
shows but also thanks to the number of their great and admired works such as
Oklahoma! (1943), which is considered to be the beginning of the modern musical
(Schmidt Joos), My Fair Lady (1956), West Side Story (1957), Gypsy (1959), Hair
(1967) or Company (1970). (Kenrick)
8 A story of a musical usually focuses on the atmosphere in the society. It uses
means of parody, satire, comedy, drama, and diversity. This genre covers a wide range
of topics that are almost always close to ordinary people, it deals with the social, racial,
work, religious matters; it also explores such problems like love or homosexuality. The
musical theatre does not keep the unity of place, it changes with the hero. According to
Osolsobě (1974), a musical hero longs for success and therefore wants to “reach
something”. It means that the audience will see his or her attempts and mistakes, minor
successes and failures that he or she lives through.
Osolsobě claims that “the theatre that speaks, sings and dances” can use a large
range of means from the spoken word, recitations, solos, chorus, to silent scenes with or
without music, with or without different types of movements. Nowadays, musicals have been enriched by new elements and technologies such as a film projection (slides). The
nature of the musical has also been influenced by the corporations who finance the projects and sometimes try to influence the concept or the ideas of authors.
Contemporary themes for the performances are looked for in forgotten stories, books,
novels and even fairy tales. New types of musicals are also getting developed – movie
musical and TV musical that became popular especially because of famous and beloved
film stars who play the main characters.
9 2. THREE MEN OF THE MUSICAL THEATRE
2.1 BOB FOSSE IN THE CONTEXT OF THE MUSICAL
THEATRE
“The time to sing is when your emotional level is too high to just speak anymore, and the time to dance is when your emotions are just too strong to only sing about how you feel.” 3 believed Bob Fosse
Bob Fosse was an American director, actor, dancer, choreographer and Treasurer
of the Society of Stage Directors and Choreographers, who influenced and changed the
view of audience of the stage dancing in the twentieth century. He was fascinated with
vaudeville’s humour and “teasing sexual tones” 4. His work was always provocative, precise in every detail, entertaining, full of cheerful humour and grotesque poses as well
as cynicism and of a range of human emotions. His dances were physically demanding.
Fosse influenced the presentations of dance on screen and showed it trough the camera
as nobody before him. (http://www.bookrags.com; http://www.ibdb.com/) As his career proceeded, Fosse became fascinated with expressing sexuality and decadence through
dancing. In his works, he usually used the idea of subtext and therefore he provided his
dancers something to think about during their acts. The use of lightening during the performances enabled him to emphasize certain things and to direct the audience to
them.
Fosse developed a jazz dance style that was easily discernible. His dances
emanated a cynical sexuality, they were intense and specific: they contained “hunched 3 Bob Fosse .Wikipedia.The Free Encyclopedia [online] 2003 2007. 30 January 2008. Available from
10 shoulders and turned in feet; the amazing, mime like articulation of hands“ 5, “small
groups of dancers, executing steps” 6, “staccato movements, erotic hints” 7 and additional
things such as chairs, hats or gloves, and influence of Charlie Chaplin: chiefly his black
and white clothes. Gloves were used in his performances mainly because he disliked his
hands. (http://www.bookrags.com, http://www.pbs.org)
Robert Louis Fosse was born in Chicago in 1927 and was attracted by dancing
since his childhood. He took dance lessons where he learned tap dancing. He travelled
with his own dancing show called The Riff Brothers at the age of 13. At high school age
– when he studied at the Amundsen High School, Chicago and the American Theatre
Wing (Faller) he was already dancing professionally, usually in various nightclubs full
of vaudeville and burlesque shows. The sexually loose atmosphere of these clubs and
the strippers with whom Fosse was in touch made influenced him, which he developed
in his later work. (http://www.ibdb.com; http://www.pbs.org)
His first legitimate part was in the chorus of the tour Call Me Mister (1948), then
he toured in the revue Make Mine Manhattan in 1948 9 and finally he made his New
York debut at the Royale Theatre in the revue Dance Me A Song (1950). He was always
attracted by Fred Astaire, a successful dancer and choreographer, and therefore he
moved to Hollywood. After the roles in three films Give a Girl a Break, The Affairs of
Dobie Gillis and Kiss Me, Kate (all 1953) Fosse decided to come back to theatre again.
His appearances in these films, especially in the last one, were a big breakthrough for him, because he caught the attention of two great Broadway’s producers – Jerome
Robbins and George Abbott (http://www.pbs.org). The Pajama Game, which was 5 Stars Over Broadway: Bob Fosse . Broadway: the American Musical. [online] 2004. Educational Broadcasting Corporation. [cit. 2008 03 01]. Available from
11 directed by George Abbott in 1954, was Fosse’s first fully choreographed show that
won him a big success. One of his most popular numbers in this work was “Steam
Heat” which Abbott firstly wanted to cut out because it seemed “too hot”, but in the end
Jerome Robbins convinced him to keep it there. Fosse showed there his specific kind of
highly stylised choreography which consisted of vaudeville humour and tricks.
(http://www.nodanw.com) Fosse obtained his first Tony Award for Best choreography
for The Pajama Game in 1955 . Then, he danced frequently on television as well as
choreographed various musicals and variety programs.
The collaboration between Abbott and Fosse continued in the following show
Damn Yankees (1955). Damn Yankees were inspirited by Jack Cole, “the father of
theatrical jazz dance”. In this production, the audience could recognize one of Fosse’s
creative features – the element of surprise (http://en.wikipedia.org). There also appeared
Gwen Verdon who later became the leading dancer in Fosse’s presentations including
New Girl in Town (1957), and Redhead (1959), his creative collaborator and later even his third wife. Fosse's two earlier marriages to M. A. Niles and J. McCracken ended in divorce.
Although Fosse was a respected and well known choreographer at that time, who brought a number of innovative ideas and elements to Broadway, many of his producers and directors forced him not to use his distinctive but controversial features of his choreographies. “During Redhead, Fosse utilized one of the first ballet sequences in a show that contained five different styles of dance: Fosse’s jazz, a cancan, a gypsy dance, a march, and an “old fashioned English music hall number.” 8
These problems that made him still more tired led to the decision to be not only the choreographer but also the director of his own dances. (http://www.pbs.org) 8 Bob Fosse .Wikipedia.The Free Encyclopedia [online] 2003 2007. 30 January 2008. Available from
12 During the 1960s and 1970s only a few Fosse’s musicals, where the excellent
cooperation between Fosse and Verdon was shown, saw the light of the day. These
works expressed the aspiration for sexual freedom. Sweet Charity (1966, film 1969)
with its number “Big Spender” and “Rich Man's Frug” scene belonged among them, and
its film version became a standard practice for music video directors. Also other film
versions of former stage musicals such as My Sister Eileen (1955), The Pajama Game
(1957) and Damn Yankees (1958) were successful. (http://www.nodanw.com)
The following years were peak years for Fosse. He created a movie Cabaret
which won him an Oscar Academy Award for Best Director and the Golden Globe
Award for Best Motion Picture (in 1975), the stage show Pippin (1972) that brought
him five Tony Awards and Liza With AZ , Liza Minneli’s TV special, received an Emmy
Award for Direction and Choreography (The Guide to Musical Theatre). The film
Cabaret , which was Fosse’s greatest public success full of vaudeville energy, was based
on Christopher Sherwood’s stories of 1929 1930 Germany and the musical play
Cabaret by Joe Masteroff. Michael York, Liza Minelli and Joel Grey starred in this film
which is a mixture of tragedy, comedy, bright music, and great dancing numbers. The
musical confronts two worlds – the real one which deals with the experiences of
Clifford Bradshaw, and the level of cabaret that functions as a mirror of the time and
shows the atmosphere of the Weimar republic. (Bártová)
The musical Pippin became the first commercial show as well as the highest
earning Broadway show in history. Pippin describes the story of King Charlemagne’s son Pippin who is looking for true happiness and fulfilment. Nevertheless, “It is best remembered for the semi pornographical number, “Magic to Do.” In the number, Fosse
who was known as a serial philanderer presented an explicit ménage à trois sequence
13 described by biographer Martin Gottfried as “putting his love life on stage, succumbing
to an urge to confess, to reveal, to expose himself.“ 9
The non musical film Lenny (1974) was a honour and inquiry into the life of
Lenny Bruce, a controversial and self destructive comedian, with whom Fosse
underwent the experiments with shocking material that should have let to liberation of
unbolded audiences (http://www.bookrags.com). It was nominated for Academy
Awards in the categories Best Picture and Best Director. In the same year Fosse acted in
a movie version of The Little Prince by Stanley Donen and later he played in the
romantic comedy Thieves (1977). During his work on Chicago (1975) Fosse suffered a
heart attack and this unpleasant experience led to the autobiographical film All That
Jazz (1979) where he used the heart attack motive to kill the director who resembles
Fosse. Gwen Verdon starred in Chicago – a cynical and vaudeville stage musical as a murderess Roxie Hart and it was her comeback to Broadway. Nevertheless, it also meant the end of Verdon’s and Fosse’s marriage. Even though they separated at that time their working partnership went on. (http://www.nodanw.com) In his next stage musical Dancin´ (1978), dancing numbers expressed the main features of acts while the story, song and characters were eliminated. His last musical Big Deal (1986) was not such a big success. Despite this fact, he became one of the most innovative and respected creators who let us an acquisition through all his work.
Bob Fosse died of a heart attack just a short time before the revival of Sweet
Charity (http://www.bookrags.com) was introduced in National Theatre of Washington
in 1987, at the age of 60, as a winner of eight Tony Awards for Best Choreography and
9 That´s Dancin´: Fosse On Broadway: Pippin . Broadway: the American Musical. [online] 2004. Educational Broadcasting Corporation. 3 January 2008. Available from http://www.pbs.org/wnet/gperf/shows/fosse/multimedia/pippin.html
14 one for Best Direction (1955, 1956, 1959, 1963, 1966, 1973, 1978, 1986) and the
recipient of an Academy Award for Best Director.
In connection to Fosse´s death, I found some discrepancies in the available
resources. Almost all resources mention the day of Fosse´s death on September 23 but
there is one (http://www.movietome.com) which presents December 23. The other
difference refers to the presentation of the revival of Sweet Charity. Did Fosse die
shortly before or after the curtain went up on the day of this revival. It is interesting to
note that electronic resources provide contradictory answers – some of them speak
about “before” (e.g. http://en.wikipedia.org or http://www.bookrags.com), the other
about “after” (e.g. http://www.who2.com or http://www.fandango.com). The last nuance
deals with the exact place of Fosse´s death. Materials mention the death in George
Washington University or the death on the way to the hospital.
2.2 FRED EBB AND JOHN KANDER COOPERATION
John Kander and Fred Ebb belong to the longest collaborating authorial team in
the whole Broadway musical history. They are sometimes called “Roders Hart
Hammerstein” (three men whose cooperative work was highly appreciated in the beginning of twentieth century) of the second half of the twentieth century. (Bártová)
Nobody led Fred Ebb, a lyricist who was born in 1935, to music in his childhood
unlike Kander – and in spite of this he began his career of a lyricist by writing texts for performances in nightclubs and revues. His television satire That Was the Week That
Was was successful in contrast to his first public stage production Morning Sun which
was taken down after eight inscenations. (Bártová)
15 John Kander, a composer who was born in 1927, started his professional career
with Second Square in 1950. During 1955 1957, he worked as a choirmaster and
conductor at Rhode Island’s Warwick Musical theatre. Kander also conducted some of
Broadway musicals e.g. Gypsy (1959). He made his debut as a composer on Broadway,
at Billy Rose Theatre, in a musical about wedding and adventures related to it called A
Family Affair , which was total failure, in 1962. This year meant also the beginning of
the Fred Kander cooperation. Their music publisher Tommy Valando introduced them.
Their first collective work became a small show called Golden Gate. Liza Minelli, an
actress who is often associated with them, debuted in their first Broadway musical Flora
the Red Menance (1965). Kander and Ebb enjoyed the cooperation with her and
appreciated her musicianship and ability to express their intentions.
(http://en.wikipedia.org)
The film Cabaret (1972), their second collective work, won great success – the
movie received eight Oscar Awards. Kander and Ebb worked on the film adaptation of
the musical play Cabaret from 1966 together with Bob Fosse, and nobody expected that
it would be such a big hit. It is interesting mainly because of the comparison of two
different worlds. The first one is a real world that includes experiences of a writer and
his love affair to a cabaret singer; the second one describes the stilted world of cabaret.
It contains a precise description of human fates, feelings, and passions. Cabaret is a place full of entertainment; nevertheless, it is also a metaphor for a world where
absurdity and clownery have become a basic living feeling. (Bártová)
Ebb and Kander provided the world with number of the best American works of
the musical theatre: musicals such as Flora the Red Menance (1965), The Happy Time
(1968), Zorba (1968), Woman of the Year (1981), Kiss of the Spiderwoman (1992),
Steel Peer (1997), Fosse (1999), The Visit (2001) , Curtains (2006) and films such as
16 Cabaret (1972), Funny Lady (1975), New York, New York (1977) and Chicago (2002).
Ebb Kander´s major success was Cabaret (1966) and its film version from 1972. The musical Chicago (1975) became very successful in its film version many years later
(2002). (Bártová)
All their works have “All their works have breath taking ability to catch flavour and colour of specific, concrete times and places, they are characterised by stormy music and alert, sharp texts.” 10 They deal with socially serious topics such as: interruption, murders, corruption and greediness, and they write for a range of pop stars e.g. Joel Grey, Gwen Verdon, Frank Sinatra, Barbara Streisdand. Their abilities and success are apparent by the number of many awards (Tony Awards, Emmy Awards,
Academy Awards) that this duo has received. (http://en.wikipedia.org)
10 transl.by author; “dechberoucí schopnost zachytit vůni a barvu specifických, konkrétních dob a míst, vyznačují se bouřlivou hudbou a bystrými, pichlavými texty” BÁRTOVÁ, Monika. Cabaret. Trans.Jiří Záviš and Jiří Josek. Městské divadlo Brno: Brno, 2003. 57 p. Programme to the 579. premiere in period 2002/2003 ISBN: (brož.)
17 3. THE MUSICAL CHICAGO
“A flash of leg The taste of temptation The smell of corruption And things that go bump in the night Anywhere else it would be a crime But this is Chicago.” 11
3.1 FROM A MURDER TO THE MOVIE
The musical Chicago is based on a satirical play The Brave Little Woman (1926), later called Chicago , written by an American journalist and playwright Maurine Dallas
Watkins. The musical Chicago is a satire on American judicial system and shows how the media can influence the outcome of court cases. (Bez p.144)
Chicago ´s fictional plot is, however, based on actual murders in American history. Watkins worked as a reporter at Chicago Tribune when she reported on the trials of two women murderers. The first woman, Belva Gaertner, a twice divorced drunk cabaret singer, shot her lover. The second one, Beulah Sheriff Annan, also shot her lover. She sat playing a foxtrot record while he was dying. The murderess changed her version of events many times during her trial: first she killed a man who tried to make love to her, then she shot him in self defence, but finally she confessed the murder. In her reports, Watkins focused on the sensational aspects of the two cases. She characterized Beulah as “beauty of the cell blocks” and Belva as “the most stylish of murderess row”. Her columns documenting these trials were so popular that she decided to write a play based on these cases. The character of Roxie Hart was inspired by 11 Chicago. DVDnet. [online] 3 January 2008. Available from http://www.dvd.net.au/review.cgi?review_id=3113
18 Beulah Annan, Belva Gaertner became Velma Kelly, Beulah’s husband became Amos
Hart, and two lawyers who defended the real murderesses were models for a composite
character Billy Flynn, a lawyer. (http://en.wikipedia.org)
George Abbott was the first director who directed Chicago on Broadway in
1926. This show had a great success – it ran for 172 performances. One year later, Cecil
B. DeMille produced a silent film version and it was remade as Roxie Hart with Ginger
Rogers as Roxie in 1942. (http://www.pbs.org) However, the character of Velma Kelly
was reduced in this version. (http://en.wikipedia.org)
Bob Fosse contacted Watkins several times and asked her for the rights to
Chicago for a musical adaptation, but she always refused. Finally, the rights were sold
to him in 1969. This event started the development of Chicago: A Musical Vaudeville.
The original Broadway production took place at the 46 th Street Theatre in 1975 with
Gwen Verdon (Roxie), Chita Rivera (Velma) and Jerry Orbach (Billy) and ran for about
900 performances. In spite of this success, the musical was overshadowed by A Chorus
Line , which opened the same year. Both musicals were nominated for Tony Awards and
Chicago lost in all categories while A Chorus Line received them. Chicago then did not
earn big success until 1997 when it was brought back on Broadway. At this time Ann
Reinking made the choreography “in the style of Bob Fosse”. (http://en.wikipedia.org)
This revival production won 6 Tony Awards (Best Actor, Best Actress, Best
Choreography, Best Direction, Best Lighting Designer and Best Revival).
(http://www.tonyawards.com) There have also been many different productions of
Chicago all over the world (e.g. West End – 1997, Japan, Denmark).
(http://www.chicagothemusical.com)
19 Bob Fosse himself was thinking about making a movie out of Chicago for a
long time. In connection to it, he mentioned Madonna, John Travolta, Barbra Streisand,
Nathan Lane or Joel Grey as possible actors. (Chita Rivera)
Then, in 2002, a successful film version was created with a cast that included
Catherine Zeta Jones as Velma Kelly, Renée Zellweger as Roxie Hart and Richard Gere
as Billy Flint. This film version differs a bit from the former theatre performance –
some songs are not heard in this version, while others were changed into background
music.
3.2 CHICAGO: THE ANALYSIS
This part is based on the Czech translation of the libretto of the musical Chicago.
The libretto is divided into 2 acts: the first one consists of 13 scenes, the second one of 9
scenes.
Chicago, the cynical vaudeville musical, is set in the mid 1920s in the USA,
which was the time when the First World War and its experiences were forgotten and
the stock market crash had not yet come. “The golden (Kohoutková) or roaring
(O’Callaghan) twenties”, as these years are often called, were full not only of peace and prosperity but also of jazz, freedom, gangs, gunfights, murders, and alcohol.
During these years, the United States became the richest state in the world. Its factories produced many goods and industry prospered through selling large quantities of goods. This led also to the improvement of lifestyle. People had jobs, they earned money and could afford modern conveniences such as radios, cars or stoves which were produced due to new technical and scientific knowledge. (O’Callaghan) People moved to big cities and cars became the necessity of life. (Kohoutková) They wanted to enjoy
20 themselves and “live it up”. They went to cinemas or cabarets and drank alcohol. They
enjoyed all opposites of religion morality such as moderation. Anyhow, there were still
a lot of poor and unemployed people, especially immigrants, who had hardly ever
something to eat and who lived in bad conditions. (Bedford) In spite of American
values, racial and political prejudice flourished in these times. The position of
immigrants in American society was hard, especially if they criticized the American
society. Even Americans had problems when they sympathised with “reds” 12 .
(O’Callaghan)
“The Eighteenth Amendment prohibited the making or selling of alcoholic
drinks….it would stop alcoholism and drunkenness and make the United States a
healthier, happier country” 13 Nevertheless, the prohibition 14 brought different effect.
There were many illegal drinking places and crime started to be on increase because the
gangs of criminals fought against themselves in the streets. The powerful gangs bribed police, lawyers and politicians that lost their respect. Dishonesty and law breaking became common and the judicial system was not objective. Chicago of that time was a
centre of industry as well as of violence and crimes where Al Capone 15 “ruled”.
(O’Callaghan)
Looking for entertainment, people became keen on the stories from various,
normally unpopular places such as underworld, bars, pubs and fancy houses, everything
that was totally different from their everyday lives. Newspapers, and media in general,
were also looking for these kinds of stories because it helped them to sell more copies.
Chicago shows this situation in American society and satirizes the social
depravities and American judicial system, its corruption, manipulations, non objectivity.
12 Communists. There was a panic fear of them. (author’s note) 13 O´Callaghan, B. An Illustrated History of the USA. 1st ed. Hong Kong : Longman. 1990. p.95 14 Prohibition was proclaimed in 1919 and cancelled in 1933. (author’s note) 15 A wealthy gangster who is considered to be a symbol of organised crime, lived 1899 1947 (Jedlička)
21 It is introduced in the announcer’s speech as “… a story of murder, greed, corruption,
violence, exploitation, adultery and treachery all those things we hold near and dear to
our hearts.“ 16 (Libretto 5) at the beginning of the story. The announcer’s voice interferes
the story several times. His words usually introduce a scene and create the atmosphere.
The same scene also introduces two characters Velma Kelly, a vaudevillian, and
Roxie Hart, a chorus girl who dreams about being a singer. While Velma is singing “All
That Jazz”, which shows the atmosphere of the cabaret, Roxie is cheating her husband
with Fred Casely and kills him when he wants to leave her. The murder creates the basic pattern of the musical and is discussed in the following scenes. Velma’s story creates a
minor storyline and is therefore put into the background. In spite of it, Velma interferes
the plot several times and influences it because they both meet in a prison where they
face similar problems.
The next act shows Rosie’s behaviour to her husband Amos. She makes use of
him, his love, simplicity and weakness. She convinces him to pretend that he was the
killer and the dead man was a burglar. Amos, in his naivety, believes her and does not
even verify who is lying on the ground in their room. While Amos is interrogated, she
sings “Funny Honey”. This song first expresses her feigned love to Amos and that she is
aware of his love to her and his naivety to do everything for her. When Amos finds out
who the dead person is, he says the truth and Rosie’s song changes to the contemptuous
tone and accuses him that he does not keep his word. It points out at the way how she
respects, or more accurately, does not respect her husband. She considers him a
“nincompoop”, a weak and silly man. In the fury, Roxie confesses the cold blooded
murder and it seems that she is proud of it until she finds out that she can be hung.
16 According to Rosenfield, Bill. Chicago . [online] 1997. 3 January 2008. Available from http://www.chicagothemusical.com/uk_site/ “…příběh o vraždě, lakotě, korupci, násilí, vykořisťování, cizoložství a proradnosti – zkrátka o tom všem, co je našim srdcím drahé a blízké.”
22 Knowing this, she starts to pray, which looks quite strange and superficially. It is hard to believe she is a believer. Nevertheless, she turns to religion once more – in the final act
with Velma where they both say the words of blessing. It refers to American values
where religion takes an important place but it seems to be irony in this situation. The
last scene can be also taken as irony. They say “God bless you” 17 , which sounds like
“God take care of you because we are free”.
The following song “Cell Block Tango” presents six murderers and their
“innocence” in the prison where Roxie is sent. Six short words – “squelch – six – bump
uh uh! – Cicero – Lipschitz” 18 (Libretto 14) going through the whole song, express
their crimes. “Squelch” stands for Liz who shot her boyfriend because of his constant
squelching when she was fed up with it. “Six” refers to Annie. She poisoned her partner
who had said he was single even though he already had six wives because he was
Mormon. June stabbed her jealous husband when he had accused her from adultery,
which “bump” expresses. Velma Kelly killed her man and her sister in Cicero when she
saw them in flagranti – trying one of their acrobatic acts (straddle act). Mona murdered
her boyfriend Lipschitz because of artistic differences. He wanted to find himself but
instead of it he found other women and was full of life, which Mona did not like. The
crime of the last woman, Hunyak, is not obvious at first sight, but it is explained later, because she is Hungarian and does not speak English. Her only intelligible words are
“uncle Sam”, “innocence” and “uh uh”. (Libretto 17) She is also the only one who is
called by her surname. This small difference can point to the fact that she differs from
the others because she is an immigrant and therefore has a different status.
17 Transl.by author; “Bůh Vám žehnej” 18 transl.by author; “Plask – šest – bác – Eh Eh! – Cicero – Lipschitz”
23 All the women agree that “He had it coming, he only had himself to blame. If
you’d have been there, if you’d have seen it, I betcha you would have done the same!” 19
(Libretto 15) They perceive themselves as being innocent victims and consider the
killed people guilty. They did not want to kill them, they were not the bad ones in their
relationships, they were abused. They just longed for calm , but the circumstances
pushed them to the radical solution. It is shown in: “He took a flower in its prime and
the he used it and he abused it. It was a murder but not a crime!” 20 (Libretto 16) where
women are compared to a pure blossom. Their convictions are so strong that it is hard to
keep distance to the women and not to sympathise with them although their crimes are
so horrible.
Mama Morton, a wardress, describes her system of policy in the jail in a song
“When You’re Good To Mama”. In this song, it is only pointed at the nature of the
system, which is based on mutual cooperation. It can be understood as: “Do (or give)
something for me and I will do something for you.” She is able to do whatever for a bribe. The situation where Mama wants money for a telephone call from Velma can
serve as an example. It is also clear that Mama determines how everything will be in the prison and it is not possible to bargain with her. The position of the murderers in the jail
is shown on the system of making beds: Velma pays five dollars to Mama who manages
it and gives fifty cents to Hunyak to make it.
The dialogue between Mama and Velma reveals that even murder can lead to
great publicity when it is seen as a sensation, entertainment for public. Owing to being
19 According to Chicago Soundtrack Lyrics: Full Skript. LyricsOnDemand.com [online] 2008. [cit. 2008 20 03]. Available from http://www.lyricsondemand.com/soundtracks/c/chicagolyrics/overtureandallthatjazzlyrics.html>; “…sám o to loudil. To všechno spískal si sám. Vy tohle prožít, vy být v mý kůži, tak se to určitě stalo Vám.” 20 According to Chicago Soundtrack Lyrics: Full Skript. LyricsOnDemand.com [online] 2008. [cit. 2008 20 03]. Available from http://www.lyricsondemand.com/soundtracks/c/chicagolyrics/overtureandallthatjazzlyrics.html>; “On na květ čistý jen tak šláp, a poupě zničil, a poupě zmrvil. Tu vraždu zločinem nelze zvát!”
24 in the newspapers, Velma becomes more famous and Mama arranges possible return to
vaudeville (for a bribe) for Velma after her release. Vaudeville in the sense of this
musical means something similar to a cabaret performance – an amusing programme
with dancing and singing, often also with humoristic background.
Being frightened of gallows, Roxie thrives for any helpful advice. She
recognizes Velma not only as a great vaudevillian. She finds out that Velma behaves
arrogantly, contemptuously and she refuses to deal with somebody so unimportant like
Roxie whom she cannot take advantage of. Mama discloses Rosie’s naivety when she
finds out that she wants to base her defence on truthfulness. Mama uncovers the practices of judicial system: “To tell the jury the truth is a real bullshit…reasonable
arguments are not taken into consideration” 21 (Libretto 25) It is important to have a
footing point, which can help to avoid the gallows. The world likes falsehood, nobody
care about the truth, and it is put away. People can lie face to face and it seems normal.
Mama also recommends Roxie a lawyer, who has won all his cases but who is
also aware of his value. Flynn, the lawyer, is not interested in his client’s guilt or
innocence. He does not care what the true is. He cares only about himself, his name and
money and exploits any occasion to reach it.
During the introduction to the following scene, the announcer says: “Ladies and
Gentlemen the dance is beginning.” 22 (Libretto 29) and four men start to dance tap
dancing. Nevertheless, that sentence may refer, as a metaphor, to the coming dialogue between Roxie and Amos. Roxie knows that her only possibility how to avoid being
hung is to persuade Amos to obtain a sum of money for the lawyer. She is aware of her previous faults and uses astutely all her abilities to convince him. He does not agree, but
when she attacks his conceit and pretends love, she wins.
21 transl.by author; “...Porotě říkat pravdu, to je fakt volovina….rozumný důvody se neberou v úvahu.” 22 trans.by author; “Dámy a pánové – začíná tanec.”
25 “All I Care About” (Libretto 31) brings Billy Flynn on the scene. Flynn is a
lawyer whom all the prisoners would like to have as an attorney. It is obvious from this
song that he does his job because of love. However, it does not mean love in its real
meaning. His love aims at hopeless women who are afraid of death and want to be
saved. He abuses their desperation to obtain a great name and money. In order to reach
success, Flynn manipulates media, uses his eloquence and adjusts truth to suit more in
advantage of his client. His abilities of manipulation can be considered as really brilliant, especially if somebody does not mind the immoral and dishonest ways of behaviour and treatment of the public. On the other hand, some people would hate his
attitudes and behaviour which do not follow the moral ways.
Two of Flynn’s qualities – scornfulness and indifference are shown in the
scene where he speaks with Amos about Roxie´s case. It is obvious from the greeting:
Flynn always calls Amos Andy. Amos is not even worth to being called by his own
name, maybe because Roxie´s case does not seem to be so lucrative. In the film version,
Flynn does not even look at Amos but he is reading a newspaper.
It is also hard to understand why Amos wants to save his wife who does not care
about him and abuses him. His naivety makes him easily susceptible because he is not
able to say “no”. That is why he accepts Flynn’s idea to sell Roxie´s personal things
(e.g. shoes, perfumes, underwear) as souvenirs to get the needed money without any
objections. Amos does not probably realise that Flynn earns probably more than § 5000
(the required sum for defence) by this sale and that he keeps them. Flynn decides to use
an auction of Roxie´s things in order to attract the attention of the media. It is important
for Roxie to be in newspapers because only then she may become a star and can
influence the public opinion. Flynn rearranges Roxie´s story and presents her as a penitent to attract the attention of Mary Sunshine, a columnist, who believes that there is
26 “A Little Bit Of Good” (Libretto 37) in everyone. Her new biography includes unhappy
life without parents, living in a convent, escape to the marriage with Amos and
desolation in the relationships that embroiled her into the whirl of the city. There she
lightly slides into it and sins. Nevertheless, she regrets it. The press perceives her as a
“poor woman”, the woman who suffered from circumstances and who should be felt
sorry for because of her unhappy life, and stands on her side. They understand that the
circumstances pushed her into that dreadful action. The scene “We Both Reached For
the Gun” (Libretto 41) shows how Flynn influences his clients and the media. He
literally put his words into everybody else’s mouth. He, as a ventriloquist, seats a doll,
Roxie, on his knees and answer all the questions himself while she just opens her
mouth.
Roxie´s case is discussed after a successful press conference in many
newspapers (on the front pages). She finally becomes a star. The song “Roxie”
describes Roxie´s desire for fame, admiration, and her self importance: “The lady rakin´
in the chips is gonna be Roxie. I’m gonna be a celebrity that means somebody who
everyone knows.” 23 (Libretto 46). Roxie wants to be “Somebody”, not only an
inconsiderable person in a big city, and she sees this as a possible way how to get into
vaudeville.
Velma is the worse for Roxie´ splendour not only because she picks the
headlines on the front pages and her lawyer but also because of the postponing her case.
Velma is now aware of her passing fame. She loses the possibility to take a part in a
well paid vaudeville tour because without the interest of the media she has no chance to be a star. She thinks the other people think just of themselves (similar to both Velma 23 According to Chicago Soundtrack Lyrics: Full Skript. LyricsOnDemand.com [online] 2008. [cit. 2008 20 03]. Available from http://www.lyricsondemand.com/soundtracks/c/chicagolyrics/overtureandallthatjazzlyrics.html>; “I velký dámy budou chtít se zhlídnout teď v Roxie. Já prostě jsem teďka osobnost, kterou kdekterý z vás by měl znát…”
27 and Roxie who are not aware of this fact) and of reaching something, and when they get
it, or when someone more gorgeous appears (in relation to Velma and Roxie it is Kitty),
their interest is gone. That is why Velma and later even Roxie have to rely on
themselves and do something on their own as it is later expressed in “My Own Best
Friend”.
Velma starts to be jealous of Roxie and she hates her as well. Velma sees that
Roxie is in some aspects such as pretending and playing a theatre in front of people very
capable and does not take the others to consideration. She uses Velma’s ideas at ease
during the process – crying she cannot find her handkerchief and therefore Flynn offers
her his handkerchief, and then, she pretends being thirsty and asks for a glass of water.
Velma is unhappy and cannot find any way out of her situation. She even stoops
so low as to try to persuade Roxie for cooperation on the vaudeville act that she performed with her dear sister (“I Can’t Do It Alone” – Libretto 50). She shows her
their choreography and tells her about their success and popularity. Roxie rejects her
offer and returns Velma her arrogant behaviour from the time when Roxie wanted an
advice from Velma. Now, they exchange their roles: the popular vaudevillian and
murderess turns into a “nobody” and a common killer changes to the woman of the front pages. Roxie enjoys her superiority and becomes bigheaded. She thinks that she does
not need anybody, even her lawyer. In fact, she does not realize that she has not worked
on her present success. She had almost no part in it except the murder of Fred, the rest
has been done by Flynn.
Mama then describes the new great sensation a murderess who killed her partner and his two lovers. This story becomes a number one in the newspapers and
Kitty, the aggressive and nasty murderess, becomes a star of the week. Owing to this
crime, Roxie finds out how the fame and the interest of the public are transient, and that
28 her case is now not interesting. Flynn has a new client who is rich, and he can earn more from this case. That is why Velma’s and Roxie´s crimes are postponed. The song “My
Own Best Friend” (Libretto 59) shows the feelings of both women. They realize that they cannot rely on anybody else but themselves.
Roxie trades on the situation that there are many journalists in the jail because of
Kitty, faints and pretends that she is expecting a baby. This information becomes a sensation, the press catches on the occasion and Roxie is again in the lights of cameras, which is exactly what she has desired for. Roxie influences and manipulates the media that complies and believes everything he says.
The second act starts with “I Know a Girl” (Libretto 62) where Velma compares herself with Roxie. She admires her while at the same time she hates her abilities, foxiness, her falsehood, and especially her fantasy. Velma does not understand why everything turns out right for Roxie and not for her. Roxie does not hesitate to misuse a fictionalised child to get what she wants. She is even able to sing about her unborn child
(“Me And My Baby” –Libretto 64). Flynn now has to deal with Roxie´s case because the media push him into it and therefore Roxie takes Velma’s date.
Amos is proud of being a father although nobody notices him, which he expresses in “Mr. Cellophane”: “Mister Cellophane, 'Cause you can look right through me, Walk right by me and never know I’m there.“ 24 (Libretto 68) He desires to be at least a small mouse, which people do not like but they at least take notice of it. This song expresses unhappiness, solitude and the feeling of inutility that appear in contemporary society. The motive of cellophane is a metaphor which symbolizes these
24 According to Chicago Soundtrack Lyrics: Full Skript. LyricsOnDemand.com [online] 2008. [cit. 2008 20 03]. Available from http://www.lyricsondemand.com/soundtracks/c/chicagolyrics/overtureandallthatjazzlyrics.html>; “Mistr Celofán bych já měl být zván, Mistr Celofán. Zdá se, že spousta lidí skrze mě vidí, mě nikdo nevidí.“
29 feelings. The material expresses that Amos is a real person whom people can touch
while the transparency of the material symbolizes his feelings of invisibility.
Flynn treats Amos as a fool. He persuades him that the child cannot be his,
insinuates him, and strains his words so as to reach what he wants:
Amos: Well…. (still counting)…That doesn’t figure out right. I can’t be the father. Flynn: (jumps up) Divorce? Have you meant the divorce? My goodness, man, you wouldn’t divorce her! Because of that trifle… (quietly; almost whispering)...or yes? Amos: You’re damn right! I’ll divorce her! She probably won’t even notice. 25 (Libretto 70)
It is obvious that Flynn suggests the idea of divorce to him because it would probably never came to Amos mind. He, in his goodness, would be able to care about both Roxie and the child. His last sentence refers again to the motive of the cellophane
and invisibility in the society. Parts of his clown´s costume tries to highlight his
feelings.
In “When Velma Takes the Stand” (Libretto 74), Velma presents her prepared
theatre piece for her trial. She wants to play the feelings and win upon them through her
charm. Moreover, Flynn explains Roxie what is necessary to pretend. He wants her to play the show about Amos and Roxie´s love so that to the jury relents. In order to
influence the jury, Flynn wants Roxie to knit for her unborn child. It should make an
impression. Bumptious Roxie does not perceive that her star is just present and created by Flynn and rejects. She forgets about being the coarse prisoner. Flynn tells Roxie the
25 partly transl.by autor partly according to Chicago Soundtrack Lyrics: Full Skript. LyricsOnDemand.com [online] 2008. [cit. 2008 20 03]. Available from http://www.lyricsondemand.com/soundtracks/c/chicagolyrics/overtureandallthatjazzlyrics.html>; Amos: “…Teda …(pořád počítá)… to mi nějak nevychází. To není možný, že já jsem otcem.“ Flynn: “(vyskočí) Rozvod? Měl jste na mysli rozvod? Prokriste člověče, přece byste se s ní nerozvedl! Kvůli takový maličkosti…(tiše; takřka mu šeptá do ucha) anebo snad jo? Amos: (vstane) Morsechadry, máte recht! Já se s ní rozvedu! A basta! Rozvedu se s ní!… (do publika po malé pauze) Ani si toho možná nevšimne.
30 truth about her publicity in a quarrel but she decides to continue on her own. In her
opinion, she does not need Flynn any more. She finds herself self sufficient.
The following scene deals with the Hunyak´s case and her status in the society.
Officially, she has the same rights as the others but in fact, nobody is interested in the
truth, nobody tries to help her. She does not even have a real translator; Mama Morton
translates what she says with the help of a dictionary. Hunyak´s guilty plea is the only
thing her lawyer wants to hear: “I don’t care what she is drivelling until she says
“guilty”. 26 (Libretto 79) It seems that her death sentence is a clear thing from the beginning. It illuminates the prejudices in the American society. Even her hanging is presented as a “Hungarian corded number” (Libretto 79) for the entertainment of the
audience and not as a something sad but as a sensation. There is no one who would
listen to her repeated words proclaiming her innocence.
Roxie realises the changeability of her fame something that is not true can be
changed in a while (nobody has been sentenced to death for 47 years and now Hunyak
was – Libretto 80). Her self confidence is shaken, and therefore she wants Flynn back
and follows what he says. Flynn himself compares the court to a circus. It is necessary
to play a good theatre and everything will go on well: “It’s all a circus. A three ring
circus. The trial, the whole world…is all a show business. Kid, you’re gonna be a
star.” 27 (Libretto 82) It is to “pull the jury’s leg” and “oil its tongue” to capture the jury’s sympathy ("Razzle Dazzle“ – Libretto 83).
The satirical scene at the court shows how Flynn and even Roxie manipulate the
truth and influence the people’s opinion. Amos testifies and Flynn calls him by his real
26 transl.by author “Mě houby zajímá, co kecá, dokud neřekne “vinna”. 27 according to Chicago Soundtrack Lyrics: Full Skript. LyricsOnDemand.com [online] 2008. [cit. 2008 20 03]. Available from http://www.lyricsondemand.com/soundtracks/c/chicagolyrics/overtureandallthatjazzlyrics.html>; “To všechno je jenom cirkus, děvenko. Cirkus jako hrom. Tyhle procesy – a vůbec tenhle svět – všecko je jen divadýlko. Komedie. Jenže ty, pusinko, spolupracuješ s hvězdou prvního řádu.“
31 name for the first time, which looks like one of his draws to make an impression on
Amos in the most suitable moment. The lawyer exploits the fact that Amos submitted the petition for divorce on his impulse. Amos believed the truthfulness of Flynn’s words and has never thought that it all could be just intrigues. Flynn wants Amos to acknowledge a mistake because then Roxie could be presented as a victim – the desolate expecting mother. Roxie is really shown as a victim of the circumstances in the interrogation by Flynn. The situation at the time of Fred Casely´s murder is described untruthfully and reversed in order to suit more to Roxie´s advantage. According to the testimony, Roxie wanted to end her improper relationship with Fred, and he did not want to accept it. Roxie speaks about herself as of a loving wife who wants to care for her husband. The whole defence looks like a self defence and defence of the unborn child. Flynn and Roxie do not deny the murder itself, they just change the circumstances and the way how it happened. Roxie looks, according to the defence, like a nice, respectable woman who has already been punished – she has to live being aware of what she did so why should she be hung.
The reports from the courtroom describe Roxie as a “poor woman” and it is obvious that they stand by her. Even Mama Morton behaves as Roxie´s fan. It is hard to say what Mama thinks about Roxie but it seems that she is fascinated by her capability and impudence although she considers her a primitive who loathes anything. Velma is disgusted and angry because Roxie uses the tricks that Velma made up for herself during the process. The song “Class” (Libretto 93) points out to the situation in the society similar to the Mama’s speech about judicial system. Nevertheless, this song relates more to the society in general. In my opinion, the “Class” probably means
“manners” because it refers to the fact that the most important thing is self, what a man wants, and humbleness with respect are lacking.
32 The final scene at the court shows how everybody is eager for the judgement.
Both possible sentences are expecting in tension. It is a question which of them –
“guilty” or “innocent” is more requested. The capital punishment would probably lead
to a bigger sensation because a pregnant woman has never been hung. At the moment
when she is called innocent, her process is interrupted by a new murder, which
immediately attracts notice and becomes a sensation. It is interesting how murders
worsen during the musical – at the beginning there is one or two dead people, then three
corpses come, all killed in private places. In the last one, the murderess kills her
husband, his mother and a lawyer nearby the courtroom while they are discussing the
divorce. Roxie becomes conscious of reality but she still cannot understand when her publicity disappeared, why nobody wants a picture of her. She does not care about her
innocence and is not even thankful for her freedom – “You got $5,000. What do I get? I
get nothing.“ 28 (Libretto 99), she is worried only about no interest of the media. The
naive Amos comes and wants to take her with the child and Roxie disdainfully explains
him the truth. She rejects him but wants back her fame.
The musical ends showing how Velma and Roxie, after their release, cooperate
and win the success as dancers in cabaret. They are not presented as dancers but sinners because it draws more attention because they differ from the others. Irony to American
values is shown in the finale dialogue between Roxie and Velma:
Velma: “You know, many people have lost their belief in America.” Roxie: “And in that, what America represents.” Velma: “However, we both are the living evidence how great is this country!” 29 (Libretto 103) 28 according to Chicago Soundtrack Lyrics: Full Script. LyricsOnDemand.com [online] 2008. 20 March 2008. Available from http://www.lyricsondemand.com/soundtracks/c/chicagolyrics/overtureandallthatjazzlyrics.html “Jo – vy shrábnete pět hadrů a já vostrouhám kolečka.” 29 transl.by author Velma: “Víte, ona fůra lidí ztratila víru v Ameriku. Roxie: “A v to, co Amerika vlastně reprezentuje.” Velma: “Ale my dvě jsme živý důkaz toho, jaká je tahle země báječná!
33 It is the irony. It depends for whom it is a great country because who wants the blind justice, which findes to overlook the truth. It also shows that Roxie is really
talented woman who just needed to get a chance. She got it but it opens the question if
the murder is this chance or if she is just able to use the situation in her advantage.
Chicago can be considered a timeless musical play. Although its plot is situated
to the 1920s, the situation in the contemporary world looks very similar. Corruption,
greed, violence, long for success and fame, hypocrisy, unscrupulousness, falsehood,
manipulation and the other similar things mentioned above appear almost everywhere. It
can perhaps be the fact why this musical looks so realistic. It also includes almost all
levels of society – from the lowest class, which is represented by Hunyak (immigrant),
to the higher one where Flynn and Kitty (her parents are very wealthy owner of pineapple production) belong to.
Songs in general are a necessary part of a musical, which make musical the
musical. Songs in Chicago are not only such usual songs that enrich the story with
music and “some” words. The words of these songs express feelings of characters and
their problems. They describe nature of characters or even take over the role of a
conversation (“We Both Reached For a Gun”) which carries a lot of information e.g.
about the life of a character.
This musical can be also taken as a theatre in the theatre. The musical is a kind
of theatre in its nature and it is also obvious that the characters play concrete roles, they pretend. In fact, they create a new play.
34 3. 3 A FEW NOTES TO THE FILM AND STAGE VERSIONS
The film version of the musical Chicago was made in 2002. Although Fosse did not create the film version, it resembles his work because the authors tried to emulate his individual style when creating it. But the film follows the stage musical, there are some changes. The movie has more technical possibilities therefore many scenes mingle. The transitions among situations and scenes are more fluent and natural in the movie. On the other hand, the film lacks some songs such as “My Own Best Friend”, “I
Know the Girl”, “Me And My Baby”, “When Velma Takes the Stand”, “Class”, “A
Little Bit Of Good” and “Nowadays”. Some of them create music background while the others cannot be found as a whole. Their segments were put into various dialogues to support the plot.
The main difference between the stage and film version is in the number of characters. The movie is enriched with many characters such as Dance Captain, Mrs.
Borusowitz, Photographer, Martin Harrison, Warden or Court clerk. These new characters overtake some conversations or at least sentences. The authors also renamed two murderesses – Kitty becomes Annie Baxter and Hunyak is called Katherina
Helinsky.
The background of the murder also differs in small details. Roxie shoots Fred not only because he leaves her, but mainly because he lied to her about a man who would give Roxie a dance act and who is, in fact, only made up by Fred.
The scene with Hunyak´s death is not presented in dialogues but only in choreography in the film version. In the libretto, there is a conversation between a lawyer, Hunyak and Mama, which is not found in the script.
35 The biggest difference is in the scene where Mama listens to the report about
Roxie´s trial on the radio with Velma. Mama gives Velma Roxie´s diary, which she
found. Velma then becomes a witness in the proceedings. These situations were created
for and included only in the film version.
It is interesting to discuss the differences in the characters of the main figures in
these two versions. Roxie behaves similarly in both versions – she seems naive, she is
eager for fame, admiration, and success; she plays a cute woman. On the other hand, she behaves like the other people, who calculate and abuse all possibilities to earn success,
which she is not aware of. It points out at false morality in the society. However, Roxie
seems more stubborn in the movie.
Velma’s role differs in both versions. In the stage version, Velma is a
vaudevillian star, but she eventually becomes lazy and self important in the prison. She
relies on the abilities of the others (e.g. Flynn or Mama who finds her a place to work
in) to reach her own success. Velma does not like Roxie but in fact, she does not do
anything against Roxie in the libretto. While her role is in the background and does not
influence the play so much in the libretto, in the script she makes radical steps. Velma is
slier and she uses a proof against Roxie (Roxie´s dairy) to harm her during the trial in
the script. Nevertheless, Velma draws from her former publicity in both performances
and counts on it in her trial.
The role of Mary Sunshine is more developed in the movie. She interferes in the
story many times, interrogates murderers or comments events. She is probably the most
respectable reporter. In the libretto, she represents a reporter who is just interested in the
case.
36 CONCLUSION
This bachelor thesis dealt with American choreographer Bob Fosse (1927 1987)
and with both stage and film versions of the musical Chicago. Even though Chicago
and Cabaret , his great musicals, were produced as films and earned great success all
over the world, Fosse´s work and even Fosse himself are almost unknown in this
country. There is very little literature about Bob Fosse and almost none of his work has been performed in the Czech Republic (except e.g. Cabaret in Městské divadlo Brno).
Therefore it was necessary to look for and use mainly electronic sources.
The first part of the thesis briefly summarises the history of the musical theatre
and illuminates the nature of the terms vaudeville and burlesque.
The next section of my work deals with Bob Fosse´s life and creative output.
During his life, Fosse created many performances and he showed his perception of the
world through them. He expressed irony, humour, grotesque and sexual subtext in his
works. Fosse´s greatest contribution lies in his ability to use unusual things or
movements in his choreographies, his demands for actors and dancers (he always asked
them to think about their roles and acts) and his precision. He used all possible ways to
express or satirize the atmosphere in the society with its social depravities. He also
influenced a jazz dance style.
I also mention a famous duo John Kander Fred Ebb who cooperated with
Fosse. I found them worth of highlighting because they played a big role in Fosse´s two
most famous musicals – Chicago and Cabaret.
The main part of my work deals with the musical Chicago , its characters,
features, plot and issues. Chicago illuminates the atmosphere in the USA in the 1920s
with its social background. It reflects the time when corruption, hypocrisy, greed, crime,
37 manipulation and the influence of media played the leading role in the lives of people
and traditional values were considered not so important, which was the opposite to
Puritanism that asked for moderation. Although Chicago describes the situation in the
1920s, it is obvious that contemporary society faces similar problems.
Chicago satirizes American judicial system with its corruption and shows that justice is missing in the society. It points at prejudice in American society because it
illuminates the hard position of immigrants in America. The musical shows also that the
media plays the leading role in the society and instead of God, the media decide on what
is good.
It shows not only naivety and simplicity of people, but also their craftiness and
greed because they manipulate media and abuse other people for their own benefit. In
this society, a murder is taken as sensation and a mean of how to become famous. A
murderess is presented as a victim of unhappy circumstances and therefore innocent
even though she killed someone. On the other hand, the dead people are considered to be those who deserved the death because they had abused the murderess. The murderess
do not deny the murder they just say “It was a murder, but not crime”. It depends on
eloquence and abilities of more powerful people what the judgement is. Nobody cares
what the truth is.
In my thesis, I also included a short resumé of Fosse´s work (in appendix). I
decided to deal with only his most important and most famous works. The aim of the
dictionary was mainly to highlight a number of people with whom Fosse worked and
not only to describe story lines. Nevertheless, it does not contain actors who cooperated
with Fosse. The range of “Fosse´s actors and actresses” is, according to my research, so
wide that it is almost impossible to include all of them. Therefore I mention only a few
of them in my thesis, mainly those who influenced him a lot as for example Gwen
38 Verdon did. This part also provides the list of the most famous songs in different performances and overviews of the main characters.
The appendix also contains an overview of Tony Awards which are related to
the topic of the thesis.
There are many possible ways how to develop my work further because Fosse
and his work pose many interesting social questions which address different social problems. It would be interesting to deal with them deeply and to compare differences
in their stage and film versions if they exist. I would also find very worth discussing possible changes and progress in Fosse´s work, his special features in choreographies or
to interview the people who worked with him or influenced his attitudes and the way he perceived art.
39 RESUMÉ
Bakalářská práce se zabývá osobou Boba Fosse a muzikálem Chicago , jemuž jako předloha sloužila divadelní hra Maurine Dallas Watkinsové. Chicago bylo uvedeno poprvé jako muzikál v roce 1975. V tehdejší době bylo zastíněno jiným muzikálem, a
tak se mu zasluhované pozornosti dostalo až při novém uvedení v roce 1996. O šest let později byl tento muzikál upraven do filmové verze, která byla nominována na třináct
Oskarů a dokonce jich šest získala.
Práce se zabývá stručným vznikem muzikálu a pojmy vaudeville a burleska,
které jsou obsaženy v tvorbě Boba Fosse. Hlavní část práce je věnována Bobu
Fossemu, jeho životu, dílu a postavení v muzikálu 20. století a jeho asi nejznámějšímu
dílu Chicago.
Analýza Chicaga je zaměřena na hlavní dějovou linii, postavy, jejich charaktery
a chování, ukazuje na nešvary společnosti, úpadek morálky a snadnou manipulaci
s médii a veřejností.
Příloha obsahuje stručný přehled děl Boba Fosse. Uvádí nejdůležitější data a
osobnosti spojené s daným muzikálem, některé písně, postavy a zahrnuje i stručný popis příběhu.
40 BIBLIOGRAPHY
American Musical Theatre: An Introduction . Theatre History . [online] 2002. [cit. 2008 19 03]. Available from
41 Bob Fosse. The Guide To Musical Theatre. [online] 1994 – 2007. [cit. 2008 04 01]. Available
42 Chicago (2002 film) .Wikipedia.The Free Encyclopedia [online] 2003 2007. [cit. 2008 30 01]. Available from
HAFLIDASON, Almar. Films: Chicago DVD (review) . BBC. [online] [cit. 2008 03 01]. Available from
43 HOGGARDOVÁ, Pavlína. Muzikál na Prahu Tisíciletí : mezi Komercí a Elitou Možnosti Reformy Muzikálového Divadla v Době (post ) Moderní . 1st ed. Brno: Retypo Jiří Sedláček, 2000. ISBN: 80 902925 0 X How To Succeed in Business Without Really Trying .Wikipedia.The Free Encyclopedia [online] 2003 2007. [cit. 2008 30 01]. Available from < http://en.wikipedia.org/wiki/How_to_Succeed_in_Business_Without_Really_Trying> Kenrick, John. A History of The Musical Vaudeville. The Cyber Encyclopedia of Musical Theatre, TV and Film [online] 2008. [cit. 2008 20 01]. Available from
44 NĚMEC, J. ŠEDINOVÁ, P. Doporučení Ke Zpracování Diplomové (Bakalářské) Práce . RING (Rukověť Informačně Gramotného Studenta PdF) [online] Spring 2007. Available from
45 ROSENFIELD, Bill. Chicago . [online] 1997. [cit. 2008 03 01]. Available from
Stars Over Broadway: Bob Fosse . Broadway: the American Musical. [online] 2004. Educational Broadcasting Corporation. [cit. 2008 03 01]. Available from
That´s Dancin´: Fosse On Broadway . Broadway: the American Musical. [online] 2004. Educational Broadcasting Corporation. [cit. 2008 03 01]. Available from
46 APPENDIX 1. SHORT RESUMÉ OF FOSSE´S WORK
This section provides a short resumé of the most famous works by Bob Fosse. Its aim is to draw nearer Bob Fosse and his work because he is not so know in our country. It includes the productions, original authors of lyrics, music, choreographies, directors and scriptwriters as well as the main characters and songs. There is also a short summary of plots. All plots are described according to many notes in various resources, mainly from Wikipedia, The Free Encyclopedia, from Musical by Helmut Bez and Muzikál by Schmidt Joos. Therefore I do not mention them in each part.
1.1 BELLS ARE RINGING
Productions: 1956 Broadway (Shubert Theatre), 1957 West End, 1960 film, 2001 Broadway Revival Book: Betty Comden, Adolph Green Text of songs and music: Betty Comden, Adolph Green; Jule Styne Direction: Jerome Robbins Choreography: Jerome Robbins, Bob Fosse Characters: Ella Peterson, Jeff Moss, Blake Barton, Inspector Barnes, Carl, Sandor, Sue, Francis, etc. Story/Plot: This musical comedy, full of awkward situations and romance, is situated in New York City. Ella Peterson, the main character, works for a telephone answering service at Susanswerphon as a service operator. She enjoys getting involved in her client’s problems – she gives advice and makes connections that nobody wants. Ella also falls in love with one of her callers Jeff Mosse who is a writer without inspiration and whom she has never seen. She helps him with a romance but various complications in their relationship come. The other storyline is created by Sandor, Sue’s (owner of Susanswerphon) boyfriend, who is suspected of using her agency as a bookmaking place. He places and receives bets by the means of musical codes and he does it over Sue’s head. The police fail in investigation and find nobody guilty.
47 The success of this musical is mainly the result of witty texts and dialogues. Some songs contain play on words; other ones have satirical meaning or are parodies on well known songs. Songs: “Bells Are Ringing”, “You’ve Got To Do It”, “Is It a Crime?”, “I Met a Girl”, “Mu Cha Cha”, “It’s a Perfect Relationship”, “Just in Time”, “The Party’s Over”, etc.
1.2 BIG DEAL
Productions: 1986 Broadway (Broadway Theatre) Book: Bob Fosse (based on the film Big Deal on Madonna Street by Mario Monicelli) Text of songs and music: various composers Direction: Bob Fosse Choreography: Bob Fosse, Christopher Chadman Characters: Charley, Lilly, Willie, two Narrators, Phoebe, Dancin´Dan, Sunnyboy, Slick, etc Story/Plot: Big Deal was Fosse’s last but not very much successful musical before his death. It contains songs from many composers. It is story of Chicago crooks from the time after Depression era. Charley, the main character, thinks he is a ladies´man but, unfortunately, it is not true. Songs : “Ain´t she Sweet”, “Beat Me Daddy to the Eight Bar”, “For No Good Reason at All”, “Life Is Just a Bowl of Cherries”, “Me and My Shadow”, “Now´s the Time to Fall in Love”, etc. 1.3 CABARET
Productions: 1972 film Book: Christopher Isherwood (book), Jay Allen (screenplay) (based on the musical Cabaret by Kander and Ebb Text of songs and music: John Kander Direction: Bob Fosse Choreography: Bob Fosse
48 Characters: Sally Bowles, Brian Roberts, Master of Ceremonies, Maximilian von Heune, Fritz Wendel, Natalia Landauer Story/Plot: The story shows Berlin in the time of Weimar Republic in 1931. There are many differences from the former musical play Cabaret Ebb and Kander created new songs even though their number was eliminated, also some scenes and characters were changed and Americanised. Liza Minelli, Michael York and Joel Grey appeared in this film. Sally Bowles, the main character, is an American singer in the Kit Kat Club in Berlin who lives a bohemian life. She meets Brian Roberts, an English academic and writer. Sally and Brian become friends after her unsuccessful attempts to seduce him. Although Brian always fails in a relationship with women, they finally become lovers. They meet Max who is attracted by them and later it is obvious that he slept with both of them. Brian marries Sally who is expecting a child without being sure who is its father. They go to England where Brian returns to his university life. However, Sally finds out she is not able to lead this kind of life. In the end, their ways separate. Brian stays in England, Sally in Berlin. The movie contains also the subplot concerning a Jewish pair whose fate is not clear. The film shows the rising of Nazi’s violence, its progress, power and influence in everyday life. Songs: “Willkommen”, “Mein Herr”, “Maybe This Time”, “Heiraten”, “Tomorrow Belongs Me”, “Money, Money”, “Two Ladies”, “If You Could See Her”, “(Life Is a) Cabaret”, etc.
1.4 DAMN YANKEES
Productions: 1955 Broadway (46 th Street Theatre), 1957 West End, 1958 film, 1967 U.S.television, 1994 Broadway Revival, 1997 West End Revival Book: George Abbott, Douglass Wallop (based on Wallop’s novel The Year the Yankees Lost the Pennant) Text of songs and music: Jerry Ross, Richard Adler Direction: George Abbott Choreography: Bob Fosse
49 Characters: Mr.Applegate, Lola, Joe Hardy, Meg Boyd, Joe Boyd, Van Buren, Gloria Thorpe, Welch, Smokey, etc . Story/Plot: The story, a witty parody of the Faust legend, is set in the 1950s in Washington, during a time when the New York Yankees dominated Major League Baseball. The musical is about Joe Boyd, a middle aged real estate agent, who sells his soul to the devil to be transformed into a young baseball player of “Senators” Joe Hardy. The devil, Mr.Applegate, would receive his soul when the unbeatable “Yankees” win. Although Joe is successful, he really misses his wife Meg, and he starts to meet with her. Mr. Applegate is afraid of losing his deal and therefore uses beautiful Lola in order to seduce him and to make him to let winning for “Yankees”. Nevertheless, Joe’s love to his wife is too true and strong, so Lola is not able to do it. Finally, “Senators” succeed in the match and Joe goes home to his beloved wife. On the other hand, the devil does not give up and promises Joe’s wife that he would change Joe to a young man again. But his powers are weak against the love of Joe and Meg and the devil with Lola returns into Hell. Songs: “Heart”, “Shoeless Joe from Hannibal, Mo“, “Whatever Lola Wants, Lola Gets”, “Who’s got the Pain”, “Those Were the Good Old Days”, “Two Lost Souls”, “A Man Doesn’t Know”, etc.
1.5 DANCIN´
Productions: 1978 Broadway (Broadhurst Theatre) Book: no Text of songs and music: various people (famous American songs, J.S.Bach, etc.) Direction: Bob Fosse Choreography: Bob Fosse, Christopher Chadman Characters: various performers, dancers, singers (famous people) Story/Plot: Dancin´ is a two hour musical revue, which is a honour to the art of dance and music. This performance includes unrelated dancing sequences with a talented cast and wide range of styles – operetta, jazz, classical (Bach, Mozart, G.M.Cohan), rock and roll, marches, pop, etc. The show does not consist of a lot of dialogues and it lacks a plot.
50 The singing and dancing plus the choreography are so demanding for theatre companies that there has not been the revival yet. It was the biggest financial success in Fosse’s stage career. Songs: “Big Noise from Winnetka”, “Crunchy Granola Suite”, “The Dream Barre”, “Fourteen Feet”, “I Wanna Be a Dancing Man“, “Sing, Sing, Sing”, “Mr. Bojangles” 1.6 HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING
Productions: 1961 Broadway, 1963 West End, 1995 Broadway Revival Book: Abe Burrows, Jack Weinstock, Willie Gilbert (based on the book How To Succeed In Business Without Really Trying by Shepherd Mead) Text of songs and music: Frank Loesser Direction: Abe Burrows Choreography: Hugh Lambert, Bob Fosse Characters: Finch, Rosemary, J.B.Biggley, Bud Frump, Hedy La Rue, Bert Bratt, Smitty, Mr.Twimble, MrWomper, etc. Story/Plot: As the title suggest, this musical is set in the business world. It describes the story of J.Pierpont Finch, a young window cleaner. He buys a book “How To Succeed in Business”, follows its advices and joins multinational “World Wide Wicket Company”. He gets there a job in the mailroom where he works with Bud Frump, a nephew of the president of the company (J.B.Biggley). Finch is not satisfied with the work there. He says – “it is a place out of which you must get” – about the mailroom. Finch’s boss (Twimble) advises Finch to play things “The Company Way”. It means to fear of being fired together with faith in the company’s wisdom. Having his book on his mind, Finch refuses his promotion in favour of Frump, and later a job as a junior executive is offered to him. He gets higher positions through strange ways until he becomes Vice President in the charge of Advertising. Finch falls in love with Rosemary Pilkington (a secretary). There is also another woman – Hedy LaRue (Biggley´s mistress) who is used by both Finch and Frump. After many problems and changes, Finch becomes Chairman of the Board with Rosemary by his side and Frump is degraded to a window cleaner.
51 Songs: “A Secretary Is Not a Toy”, “Been a Long Day”, “Brotherhood of Man”, “Coffee Break”, “The Company Way”, “I Believe in You”, “The Yo Ho Ho”, etc. 1.7 LITTLE ME
Productions: 1962 Broadway (Lunt Fontanne Theatre), 1964 West End, 1982 Broadway Revival, 1984 West End, 1998 Broadway Revival Book: Neil Simon (based on the novel Little Me by Patrick Dennis) Text of songs and music: Carolyn Leigh, Cy Coleman Direction: Cy Feuer, Bob Fosse Choreography: Bob Fosse Characters: Noble Eggleston, Miss Poitrine, Belle, George Musgrove, Bernie Buchsbaum, Yulnick, Mamma, etc. Story/Plot: Little Me is a musical about Belle Poitrine, a self made star, who is writing her autobiography. It describes her artistic career and the experiences she had with her admirersa series of her admires. Firstly, she meets Noble Eggleston whom she loves but he leaves her because she is not of “blue blood”. She desires wealth and social position. Then she is arrested because of the shooting accident when she wants to hug Mr.Pinchley, her admirer. In the prison, she meets Benny and Bernie who tell her she is a performer. Then, being free again, she has her first stage part and meets Val whom she marries. Unfortunately, he dies soon after that on a ship where Bella re meets Noble. There, Bernie and Benny contact her, with them she goes to Hollywood. She meets with director Otto who later commits suicide. Meanwhile, Noble becomes a governor but drinks and marries Bella’s daughter. Songs: “Be a Performer”, “Boom Boom”, “Dimples”, “I’ve Got Your Number”, “Real Live Girl”, “The Other Side of the Tracks”, “The Rich Kids Rag”, etc. 1.8 NEW GIRL IN TOWN
Productions: 1957 Broadway (46 th Street Theatre) Book: George Abbott (based on the play Anna Christie by Eugene O’Neill) Text of songs and music: Bob Merrill
52 Direction: George Abbott Choreography: Bob Fosse Characters: Chris (sailor), Anna (his daughter), Marthy (his common law wife), Mat Burke (sailor), Oscar, Lily, etc. Story/Plot: The story is set in the early 1920s. Anna, a daughter of sailor Chris, returns home to New York after twenty years absence. Nobody at home knows that she earned living by being a prostitute in last years. Her father thinks that his innocent girl is coming home. Anna wants to keep her secret hidden and to live a normal happy life. She falls in love with Matt, who is a sailor. Anna is not the only one who wants Matt. There is also Marthy, Chris´common law wife who reveals Anne’s secret. Matt is angry and leaves Anna on a ship and Anna’s dreams about happy life are gone. While Matt is sailing, she hopes in his comeback and starts farming. After a time, Matt really comes back and they reconciliate. Its number “The Red Light Ballet“ about life in a brothel was so shocking and unacceptable that the police shut down the production. It was cut out of the programme until Fosse tempered it. Nevertheless, when the show appeared on Broadway, Fosse restored this number completely. Songs: “At the Check Apron Ball”, “Chess and Checkers”, “On the Farm”, “The Red Light Ballet”, “Roll Yer Socks Up”, “There Ain´t No Flies on Me”, “Sunshine Girl”, etc. 1.9 PIPPIN
Productions: 1972 Broadway (Imperial Theatre), 1973 West End, 1981 U.S.Television Book: Roger O.Hirson (based on life of Pippin the Hunchback, the son of Charlemagne) Text of songs and music: Stephen Schwartz Direction: Bob Fosse Choreography: Bob Fosse Characters: Leading Player, Pippin, Charles, Catherine, Fastrada, Berthe, etc. Story/Plot:
53 The musical, set in 780 A.D. during the reign of the Holy Roman Empire, describes the story of King Charlemagne’s son Pippin who is looking for true happiness and fulfilment. He does not get on well with his father, because the king has no time for his son. Pippin therefore decides to leave his family in order to find out more about living and world pastimes. He looks for it at battlefields, then he travels through country and stops at his exiled grandmother’s. She advises him to look for something lighter and he chooses temptations of the flesh. Later, as he recognizes the true nature of sex, he wants to fight against tyranny and thinks about a revolution. He is involved in his stepmother’s intrigues, kills his father and becomes a new king. Nevertheless, he finds out that nobody can change the society. Pippin travels again and stops at a widow Catherine with whom he lives a happy part of his life. After some time, Pippin decides again to search for his aim and he leaves sad Catherine. In the finale part of the musical, Pippin is thinking of suicide but as he sees Catherine he realizes that the life with her brings him the true happiness. Finally, Pippin finds what he has been searching for in the common pleasures of home. The whole musical is influenced by entries of the leading player who introduces the story and later, makes changes, influences Pippin. The most famous number of Pippin is “Magic To Do” which can be called most a pornographical number. There have been alternative endings of the story. Songs: “Corner of The Sky”, “Finale”, “Glory”, “Magic To Do”, “No Time at All”, “Spread a Little Sunshine”, “War Is a Science”, “With You”, etc. 1.10 REDHEAD
Productions: 1959 Broadway (46 th Street Theatre) Book: Dorothy Fields, Herbert Fields, Sidney Sheldon, David Shaw Text of songs and music: Dorothy Fields, Albert Hague Direction: Bob Fosse Choreography: Bob Fosse Characters: Essie Whimple, Tom Baxter, Sir Charles Willingham, Maude Simpson, Jailer, Sarah Simpson, George Poppett, etc. Story/Plot:
54 This murder mystery musical takes places in London in the 1900s, at the time of Jack the Riper. Simpson Sister’s Waxworks open a wax exhibition where the scene of a murder of a young actress Ruth, who was killed a few months before, is also exhibited. The story is about Essie Whimple, a shy worker in this waxwork museum, who at times suffers from visions. She meets Tom Baxter at the exhibition for whom the murdered girl was something like his sister. Essie falls in love with Tom, she sees a man of her visions in him. Unfortunately, she is aware of the fact that there is almost no possibility to see Tom again. Therefore she comes up with the idea to pretend that somebody tries to kill her. She creates a fictional assault and gets in touch with Tom who helps her to hide in the theatre. Tom falls in love with Essie. She pretends to know who is the murderer of a young actress and admits Tom that she had been always lying about the attack. Later, in her visions, she sees redhead Sir Charles (Ruth’s fiancé and Tom’s friend) as the killer. However, Tom leaves her. The only chance of getting Tom back is to prove that Sir Charles is a murderer. George, a man from the theatre, wants to help her with the replica of Charles´ head being installed in the museum where she should meet Sir Charles. Tom finally makes up with her and cooperates on the action. In the museum, Essie finds out that George killed Ruth and now wants to kill her and Sir Charles. Fortunately, George is captured and everything ends happily. Songs: “Chase”, “Dream Dance”, “Erbie Fitch’s Twitch”, “Look Who’s in Love”, “The Uncle Sam Rag”, “The Pickpocket Tango”, etc.
1.11 SWEET CHARITY
Productions: 1966 Broadway (Palace Theatre), 1967 West End, 1969 film, 1986 and 2005 Broadway Revival, 2006 US Tour, 2006 Sao Paulo Book: Neil Simon (based on the screenplay Nights Cabiria ) Text of songs and music: Dorothy Fields, Cy Coleman Direction: Bob Fosse Choreography: Bob Fosse Characters: Charity (hostess), Charlie (her boyfriend), Vittorio Vidal (film star), Ursula (his girlfriend), Oscar (accountant), etc. Story/Plot:
55 Sweet Charity describes the life of Charity Hope Valentine, a hostess at a dance hall called “Fandango Ballroom” in the contemporary New York. The story starts in the Central Park where Charlie steals Charity’s handbag with her savings, pushes her into the lake and runs away. Fortunately, a young man rescues her. Charity tries to convince her colleagues at Fandango that Charlie wanted to help her but caught only her handbag. Nevertheless, nobody believes her because they all know that she has “a heart like a hotel”. Charity decides that it cannot happen any more. Then she meets, by accident, a famous film star Vittorio Vidal in front of the Pompeii Club who was left by his girlfriend Ursula. Vittorio invites Charity to go to the club with him and she agrees. When Vittorio wants to dance she faints because she has not eaten since morning. He takes Charity to his apartment where she receives a photo of him with his signature (as a prove for her colleagues that she really was there). Charity wants to seduce Vittorio, but Ursula, who comes to apologise for her jealousy, interrupts the plan. Charity is forced to stay hidden in the wardrobe and watches how the two are reconciling in the bed. Not only Charity but also the other girls from Fandango dream about a normal life. Charity therefore decides to study the evening school where she meets Oscar. When they are stuck in a lift she helps him to overcome claustrophobia. Oscar calls Charity “Sweet Charity”, asks her out for a date and about her job. She lies to him when tells him she works for First National City. Weeks later, they are still dating and she still has not told him how she earns for a living. Charity is really in love with Oscar and, desperate, she wants to leave the Fandango but does not know where to go. Then she decides to tell Oscar the truth about her job. Oscar admits that he already knows. In spite of her past, Oscar would like to marry her and wants to take her from this city. Oscar is happy and believes in nice tomorrows. On the eve of their wedding, Oscar starts suddenly to doubt and be afraid of her past lovers (thoughts about them). When Charity does not leave him he pushes her into water like Charlie but he does not steal her handbag. The story ends with three neon signs: “And so she lived…hopefully…ever after”. Songs: “Charity’s Theme”, “Rich Man’s Frug”, “Too Many Tomorrows”, “I’m The Bravest Individual”, “The Rhythm Of Life”, “Good Impression”, “Sweet Charity”, etc.
56 1.12 THE PAJAMA GAME
Productions: 1954 Broadway (St. James Theatre), 1957 film, 1973 and 2006 Broadway Revival Book: George Abbott, Richard Bissell (based on the novel “ 7 ½ Cents” by R.Bissell) Text of songs and music: Richard Adler, Jerry Ross Direction: George Abbott, Jerome Robbins Choreography : Bob Fosse Characters: Hasler (owner of Pyjama factory), Sid Sorokin (head of factory), Prez (chairman of company council), Babe Williams (complaint committee head), Gladys Hotchkiss (secretary), Mabel, Hines, etc. Story/Plot: The Pajama Game is situated in the contemporary USA. The story is based on the romance between Babe and Sid, and Hines and Gladys and deals with labour problems at the Sleep Tite Pajama Factory where the strike for a 7 ½ cent raise is coming. Babe and Sid belong to opposite camps and attract each other although Babe denies it at the beginning. During the picnic for workers, they become close and soon after the workers proclaimed “slow down” because of unfulfilled requests of union which Babe supports. It causes a quarrel between Babe and Sid because they support different camps. “Slow down” is respected very carefully and therefore the factory gets into difficulties and is not able to compete with the other companies. Sid, with the help of Gladys, finds out that Hasler, the boss, has already included the additional sum of money into the budget but keeps the money for himself. Sid compels Hasler to give the money to workers and reconciles with Babe. Songs: “ Hernando's Hideaway”, “Hey There”, “I'm Not at All in Love”, “The Jealousy Ballet”, “Once a Year Day”, “Small Talk”, “Sleep Tite”, “Steam Heat”, etc.
2) TONY AWARDS AND CHICAGO 1976 nominee Actor (Musical): Jerry Orbach 1976 nominee Actress (Musical): Chita Rivera
57 1976 nominee Actress (Musical): Gwen Verdon 1976 nominee Book (Musical): Chicago by Fred Ebb and Bob Fosse 1976 nominee Choreographer : Bob Fosse ( Chicago ) 1976 nominee Costume Designer : Patricia Zipprodt ( Chicago ) 1976 nominee Director (Musical): Bob Fosse ( Chicago ) 1976 nominee Lighting Designer : Jules Fisher ( Chicago ) 1976 nominee Musical : Chicago . (Produced by Robert Fryer and James Cresson) 1976 nominee Scenic Designer : Tony Walton ( Chicago ) 1976 nominee Score (Musical): Chicago . (Music by John Kander, lyrics by Fred Ebb) 1985 winner Theatre Award Steppenwolf Theatre Company, Chicago, Illinois 1992 winner Regional Theatre Award The Goodman Theatre of Chicago 1997 winner Actor (Musical): James Naughton ( Chicago ) 1997 nominee Actress (Featured Role Musical): Marcia Lewis ( Chicago ) 1997 winner Actress (Musical): Bebe Neuwirth ( Chicago) 1997 winner Choreographer : Ann Reinking ( Chicago ) 1997 nominee Costume Designer : William Ivey Long ( Chicago ) 1997 winner Director (Musical) : Walter Bobbie ( Chicago ) 1997 winner Lighting Designer : Ken Billington ( Chicago ) 1997 winner Revival (Musical): Chicago (Produced by Barry and Fran Weissler, Kardana Productions, Inc.) downloaded from http://www.tonyawards.com/p/tonys_search
3) TONY AWARDS AND BOB FOSSE
1955 Tony Award for Best Choreography The Pajama winner Game 1956 Tony Award for Best Choreography Damn Yankees winner 1957 Tony Award for Best Choreography Bells Are Ringing nominee 1958 Tony Award for Best Choreography New Girl in Town nominee 1959 Tony Award for Best Choreography Redhead winner 1963 Tony Award Best Direction of a Musical Little Me nominee
58 1963 Tony Award for Best Choreography Little Me winner 1964 Tony Award Best Actor in a Musical Pal Joey nominee 1966 Tony Award Best Direction of a Musical Sweet Charity nominee 1966 Tony Award for Best Choreography Sweet Charity winner 1973 Drama Desk Award Outstanding Director Pippin winner 1973 Drama Desk Award Outstanding Pippin winner Choreography 1973 Tony Award Best Direction of a Musical Pippin winner 1973 Tony Award Best Choreography Pippin winner 1976 Tony Award Best Direction of a Musical Chicago nominee 1976 Tony Award Best Choreography Chicago nominee 1976 Tony Award Best Book of a Musical Chicago nominee 1978 Drama Desk Award Outstanding Dancin´ winner Choreography 1978 Tony Award Best Direction of a Musical Dancin´ nominee 1978 Tony Award Best Choreography Dancin´ winner 1986 Drama Desk Award Outstanding Director of a Sweet Charity nominee Musical 1986 Drama Desk Award Outstanding Director of a Big Deal nominee Musical 1986 Drama Desk Award Outstanding Big Deal winner Choreography 1986 Tony Award Best Direction of a Musical Big Deal nominee 1986 Tony Award Best Choreography Big Deal winner 1986 Tony Award Best Book of a Musical Big Deal nominee downloaded from http://www.tonyawards.com/p/tonys_search
59